Category Archives: 2024 New Releases

Album Review – Monument of Misanthropy / Vile Postmortem Irrumatio (2024)

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Austria’s own ruthless Technical/Brutal Death Metal titans return with an even more infuriated concept album, this time revolving around the life of serial killer Ed Kemper.

Formed in 2010 in the stunning city of Vienna, Austria, Technical/Brutal Death Metal titans Monument of Misanthropy return once again with a sickening concept album based on a serial killer, and this time it revolves around Ed Kemper. The album is titled Vile Postmortem Irrumatio, which is Latin for “a cheap postmortem raid”, where the band formed of vocalist George “Misanthrope” Wilfinger (Miasma, Raising The Veil), guitarists Julius Kössler (Spire of Lazarus) and Joe Gatsch (Scävenger), bassist Raphael Hendlmayer, and session drummer Eugene Ryabchenko (Fleshgod Apocalypse) delves into aspects of his life, using violent music to add meaning to it; their visceral and incisive music with highly expressive vocals perfectly capturing the terrifying aura around the figure, all embraced by a disturbing artwork by Daemorph Art (The Last of Lucy, Cutterred Flesh), being highly recommended for fans of Cattle Decapitation, Benighted, Aborted, Blood Red Throne, and Depravity, among others.

The wicked intro First Time It Makes You Sick to Your Stomach offers a sinister narration that will warn you of all the violence that’s about to come in How to Make a Killer, blasting our ears with an overdose of brutality with Eugene pulverizing everything and everyone that crosses his path, and with the venomous growling by George being the icing on the cake in such an amazing display of Brutal Death Metal. The same level of gore and dementia is offered to us all in The Atascasdero Years, with the guitars by Julius and Joe enhancing George’s vile gnarls to a whole new level, whereas Hits One and Two is utterly inspired by the sick creations by the mighty Cattle Decapitation, a lesson in violence while also sounding very technical and intricate. Why Did You Keep Their Heads is another eerie, visceral interlude that will send shivers down your spine until Manipulating the Experts explodes in our faces in another onrush of demonic Technical Death Metal, with George once again haunting our souls with his grim gnarling.

After that, the title-track Vile Postmortem Irrumatio will smash you like a putrid and gory insect, with the band’s fusion of enraged roars, striking riffs and solos, and stone crushing drums sounding fantastic form start to finish; whereas the band continues their path of extreme aggression and insanity in The Devil’s Slide, with the infuriated blast beats by Eugene inviting us all to the eye of the circle pit. Not sure if another interlude was necessary, although Oh, I Suppose You’re Gonna Want Sit Up and Talk All Night Now makes sense taking into account the album’s theme, morphing into A Nice Beheading for MoM, where the riffage and solos by Julius and Joe bring a welcome melodic touch to their infernal music. Then the massive kitchen by Raphael and Eugene will make your head tremble in Pueblo Paranoia, almost four minutes of unhappy, demonic Brutal Death Metal, flowing into their cover version for Dying Fetus’ Your Treachery Will Die with You (check the original one HERE, from their 2009 album Descend into Depravity), and the band’s rendition of it is just as demented and violent.

The guys from Monument of Misanthropy are waiting for you on Facebook and on Instagram with news, tour dates and so on, on YouTube and on Spotify with more of their caustic music, and if you want to put your hands on the excellent Vile Postmortem Irrumatio you can purchase it from their BandCamp page, from Transcending Obscurity Records by clicking HERE, HERE or HERE, or click HERE for all things Monument of Misanthropy. Big Ed and the boys are inviting you for a gruesome and sick party in their excellent new album, overflowing brutality while at the same time being an amazing and detailed work musically speaking, and I don’t think you should miss it or the same Big Ed will definitely pay you a not-so-friendly visit when you least expect.

Best moments of the album: How to Make a Killer, Hits One and Two and Vile Postmortem Irrumatio.

Worst moments of the album: Oh, I Suppose You’re Gonna Want Sit Up and Talk All Night Now.

Released in 2024 Transcending Obscurity Records

Track listing
1. First Time It Makes You Sick to Your Stomach 0:39
2. How to Make a Killer 3:13
3. The Atascasdero Years 3:12
4. Hits One and Two 2:46
5. Why Did You Keep Their Heads 0:55
6. Manipulating the Experts 3:12
7. Vile Postmortem Irrumatio 2:52
8. The Devil’s Slide 3:08
9. Oh, I Suppose You’re Gonna Want Sit Up and Talk All Night Now 1:20
10. A Nice Beheading for MoM 3:06
11. Pueblo Paranoia 3:55
12. Your Treachery Will Die with You (Dying Fetus cover) 3:37

Band members
George “Misanthrope” Wilfinger – vocals
Julius Kössler – guitars
Joe Gatsch – guitars
Raphael Hendlmayer – bass

Guest musician
Eugene Ryabchenko – drums (session)

Album Review – Orden Ogan / The Order Of Fear (2024)

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One of the torchbearers of German Power Metal is back with their seventh album, continuing their saga with a particularly triumphant lesson in dark metal music.

A standout in the Power Metal genre and a crucial part of the international metal scene since their 2008 debut album Vale, Arnsberg, North Rhine-Westphalia, Germany’s own Power Metal warriors Orden Ogan are back with their latest epic The Order of Fear, their seventh studio opus, continuing their saga with a particularly triumphant lesson in dark metal music in a Hollywood-style story. Recorded, mixed and mastered by the band’s frontman Sebastian “Seeb” Levermann at Greenman Studios, and displaying a classy artwork by Dan Goldsworthy (Aborted, Corpsegrinder, Accept, Alestorm, Cradle of Filth, Gloryhammer, and many more), The Order of Fear seamlessly fits into the band’s impressive catalog, showcasing all the dexterity and passion for heavy music by the aforementioned Seeb on vocals alongside Niels Löffler and Patrick Sperling on the guitars, Steven Wussow on bass, and Dirk Meyer-Berhorn on drums.

In the opener Kings of the Underworld there’s no intro, nor any moments of peace; it’s a fast-paced, no-shenanigans Power Metal attack right from the beginning led by the classic drums by Dirk while their guitars sound absolutely striking and vibrant. Then the title-track The Order of Fear offers an overdose of whimsical lyrics declaimed by Seeb (“I heard the king is dead / Now others reign instead / Pulling the strings in the dark of the day / Abel, my good old friend / Through shadows we descend / He’ll follow me to the end of the way”) while the music is a well-balanced mix of Heavy and Power Metal, followed by Moon Fire, another solid and entertaining creation by the band bringing forward traditional Power Metal with some additional background elements, adding a more epic vibe to it. Then an acoustic, gentle start gradually morphs into a galloping sound in Conquest, with once again Dirk pounding his drums accompanied by the metallic bass by Steven, whereas the fast riffage by Niels and Patrick set the tone in Blind Man, a fun and thrilling Power Metal extravaganza that should work really well if played live.

The second half of the album offers more of their metal hymns, starting with Prince of Sorrow, with Seeb kicking some ass on vocals as usual while the riffs by the band’s guitar duo sound striking, followed by Dread Lord, which tries to be epic but ends up being cheesy and generic, although the riffs and solos by Niels and Patrick are once again very pleasant. It’s then time for a stunning power ballad titled My Worst Enemy, led by the passionate vocals by Seeb, bringing a touch of finesse to the album; and speeding things up again the band delivers the electrifying Anthem to the Darkside, alternating between heavier moments and more melodic passages, with Dirk kicking some serious ass behind his drums. Finally, the interlude The Journey Thus Far offers a dark narration that will take you on a wild musical journey titled The Long Darkness, with Seeb leading his henchmen in a melodious, epic and charming song where all backing vocals enhance the power of his own vocals, offering over eight minutes of classic Orden Ogan by bringing forward their trademark riffs and bass lines, pounding drums and soaring vocals, also ending in a climatic and epic way.

“The album is much more stripped down,” commented Seeb. “It is to the point, more metallic, direct, and perhaps ‘authentic’. The guitars are more in the foreground, but of course, it didn’t work entirely without orchestral elements,” he complemented, and if you want to experience that more metallic side of the band you can grab a copy of the album by clicking HERE, also keeping in mind that soon this ten-song cinematic story will be available in a reading version through the official Orden Ogan fan club. You can also find more information about the band and the album, and of course more of their music, on Facebook, Instagram, YouTube and Spotify, joining the band in their quest for Power Metal. In a nutshell, the saga goes on in The Order Of Fear, an album that will surely please all fans of the band, therefore leaving everyone eager for the next chapter in the metallic book by one of the torchbearers of German Power Metal.

Best moments of the album: Kings of the Underworld, Blind Man and Anthem to the Darkside.

Worst moments of the album: Dread Lord.

Released in 2024 Reigning Phoenix Music

Track listing
1. Kings of the Underworld 3:58
2. The Order of Fear 4:26
3. Moon Fire 4:14
4. Conquest 4:12
5. Blind Man 3:52
6. Prince of Sorrow 4:02
7. Dread Lord 3:33
8. My Worst Enemy 3:28
9. Anthem to the Darkside 7:09
10. The Journey Thus Far 0:54
11. The Long Darkness 8:21

Band members
Sebastian “Seeb” Levermann – vocals
Niels Löffler – guitars
Patrick Sperling – guitars
Steven Wussow – bass
Dirk Meyer-Berhorn – drums

Album Review – Aposento / No Safe Haven (2024)

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There’s no safe haven when it comes to the brutality blasted by these Spanish Death Metal titans in their pulverizing fourth studio album.

Following up on the brutality and darkness of their 2020 opus Conjuring the New Apocalypse, Logroño, La Rioja, Spain-based Death Metal titans Aposento are back with their pulverizing fourth full-length installment, beautifully titled No Safe Haven. Recorded by Dan Díez at Rock Lab Studios, mixed by Davide Billia at Mk2 Recording Studio, and displaying a gory, devilish artwork by Spanish artist Naroa Etxebarria, No Safe Haven presents a brutal and powerful sound reminiscent of the classic Death Metal era of the early 90’s in Florida, with the band now formed of a returning Carlos Garcia on vocals (who was the band’s frontman from 1993 to 1997), Manolo Sáez and Manu Reyes on the guitars, and newcomers Pablo Vazquez on bass and Raúl Ceballos on drums sounding absolutely ruthless from start to finish for our total delight.

Get ready to be pulverized by the almighty Aposento in the title-track No Safe Haven, where Carlos proves why his return was the right choice for the future of the band, also showcasing decimating Death Metal riffs and crushing beats; and Raúl continues to hammer his drums mercilessly in Tortured and Abused, inviting us all to slam into the pit to the band’s classic, no shenanigans Death Metal attack. There’s no time to breath as the quintet fires another brutal tune titled Uncertain Death, with the riffage by Manolo and Manu sounding incendiary for our total delight. Moreover, it’s impressive how they manage to sound so technical without forgetting their infernal core essence. And this Spanish Death Metal brigade sounds just as infuriated in A Texas Funeral, a lesson in violence and gore where the vocals by Carlos will haunt your putrid souls for all eternity; whereas Raúl takes the lead with his wicked, demented beats and fills in The Bad Seed, keeping the animosity flowing strong in the album.

The band will then break your body in half with their thunderous sounds in Where Darkness Reigns, with Carlos deeply roaring like a demented creature supported by the heavy-as-hell kitchen by Pablo and Raúl, resulting in an amazing Death Metal aria by those Spanish beasts. A sinister start quickly explodes into sheer madness entitled Let it Bleed, where no one will be left alive to the demolishing sounds blasted by Aposento, while Manolo and Manu continue to slash their axes in The Devil’s Bargain, delivering caustic, flammable riffs while Raúl crushes his drums nonstop. Two more songs to go and the band doesn’t slow down at all, offering us absolute hatred and heaviness in As Your Life Ends, a decent Death Metal tune albeit not as good as the other songs, followed by Parásitos, one last blast of insanity and violence by the band where Raúl sounds inhumane on drums as well as Carlos with his deep guttural roars.

If you nurture a deep passion for the heaviest and most aggressive form of Death Metal, you must take a listen at the new demented album by Aposento, obviously grabbing a copy of it from Xtreem Music’s BandCamp page or webstore to show all your support to the underground, and don’t forget to also give the guys from Aposento your best guttural shout on Facebook and on Instagram, staying up to date with everything about the band including their infernal live concerts, and to stream all of their amazing discography on Spotify. There’s no safe haven when it comes to the violence blasted by Aposento in their new album, no way out, nowhere to go, with their demented sounds dragging our putrid bodies into an endless circle pit in the name of old school Death Metal.

Best moments of the album: No Safe Haven, Uncertain Death and Where Darkness Reigns.

Worst moments of the album: As Your Life Ends.

Released in 2024 Xtreem Music

Track listing
1. No Safe Haven 3:40
2. Tortured and Abused 2:59
3. Uncertain Death 3:13
4. A Texas Funeral 3:00
5. The Bad Seed 3:30
6. Where Darkness Reigns 2:42
7. Let it Bleed 4:24
8. The Devil’s Bargain 3:38
9. As Your Life Ends 3:24
10. Parásitos 3:30

Band members
Carlos Garcia – vocals
Manolo Sáez – guitars
Manu Reyes – guitars
Pablo Vazquez – bass
Raúl Ceballos – drums

Album Review – 200 Stab Wounds / Manual Manic Procedures (2024)

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Cleveland’s own legends-in-waiting will crush your damned souls with their sophomore album, a brutal slab of old school Death Metal with a contemporary edge not for the faint-hearted.

Following up on their very successful 2021 debut album Slave to the Scalpel, Cleveland, Ohio, United States-based Death Metal legends-in-waiting 200 Stab Wounds are back into the battlefield with their sophomore opus Manual Manic Procedures, a brutal slab of old school Death Metal with a contemporary edge. Produced and mixed by Andy Nelson at Bricktop Recording, and mastered by Brad Boatright at Audiosiege Mastering, the new album by vocalist and guitarist Steve Buhl, guitarist Raymond MacDonald, bassist Ezra Cook and drummer Owen Pooley is certainly not for the faint-hearted, putting classic gore-themed ferocity back into the metal community’s collective consciousness.

In the opener Hands of Eternity, a grim and sinister start gradually evolves into a demented Death Metal beast where Owen dictates the pace with his furious beats supported by the always metallic bass by Ezra, sounding bestial and damned from start to finish. After such a demonic start, the band needs less than two minutes to smash our cranial skulls in Gross Abuse, with the demented harsh vocals by Steve redefining the meaning of “deep”, whereas their undisputed Death Metal sounds continue to split our spinal cords in half in Manual Manic Procedures, again showcasing Steve’s venomous roars boosted by his own and Raymond’s infernal riffs and solos. Release the Stench is another short and sweet display of savagery by the quartet, offering endless groove and electricity thanks to the amazing job done by their stringed trio, followed by Led to the Chamber / Liquified, an instrumental piece where the first part is just an intro that morphs into a more melodic second half, bringing more of their classic Death Metal (albeit never really taking off).

Back to their more ferocious mode we’re treated to Flesh from Within, with Owen and Ezra hammering their thunderous instruments while Steve vociferates rabidly nonstop; and the bass by Ezra sounds even more metallic and heavier in Defiled Gestation, with Owen accelerating the band’s already killer sonority in great fashion. Then featuring guest vocals by Jami Morgan of Code Orange we have Ride the Flatline, offering our avid ears an explosion of caustic lyrics (“Back against the rail, stones beneath my feet / Fantasies of speeding steel dominate my dreams / Colder than a knife, faster than a gun / Exhilaration, annihilation / Pressure of a ton”) while the music remains violent and heavy until the very end. Finally, closing one of the heaviest albums of the year we have Parricide, where their riffs, bass lines and crushing drums are exactly what Steve needs to bark like a demonic creature.

200 Stab Wounds keep going strong in their demolishing path of old school Death Metal, and Manual Manic Procedures is exactly what they needed to reach new heights with their undisputed violence and musicianship. Having said that, let those Cleveland metallers stab your heart 200 times with their refined extreme music by following them on Facebook and on Instagram, by streaming their sick creations on Spotify, and by grabbing a copy of the ruthless Manual Manic Procedures from the Metal Blade Records webstore or by clicking HERE. Because they’re violent, gory, brutal, and above all that, they’re pure Death Metal.

Best moments of the album: Hands of Eternity, Manual Manic Procedures and Flesh from Within.

Worst moments of the album: Led to the Chamber / Liquified.

Released in 2024 Metal Blade Records

Track listing
1. Hands of Eternity 4:44
2. Gross Abuse 1:50
3. Manual Manic Procedures 2:43
4. Release the Stench 2:31
5. Led to the Chamber / Liquified 3:10
6. Flesh from Within 3:11
7. Defiled Gestation 4:24
8. Ride the Flatline 2:50
9. Parricide 4:06

Band members
Steve Buhl – vocals, guitars
Raymond MacDonald – guitars
Ezra Cook – bass
Owen Pooley – drums

Guest musician
Jami Morgan – vocals on “Ride the Flatline”

Album Review – Benighted / Ekbom (2024)

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Let’s dive into the auditory abyss with this Brutal Death Metal and Grindcore entity armed with their newborn beast, inspired by the rare neurological disorder known as “Ekbom syndrome.”

Formed in 1998 in the French city of Saint-Étienne with roots deeply entrenched in the macabre realms of Extreme Metal, the vicious Brutal Death Metal/Grindcore entity Benighted has evolved from a side-project into a malevolent force, captivating fans worldwide with their skull-shattering sound and thematically explorative pieces. Now in 2024 the band formed of Julien Turchan on vocals, Emmanuel Dalle on the guitars, Pierre Arnoux on bass, and Kevin Paradis on drums invites us to dive into the auditory abyss with Ekbom, their latest offering inspired by the rare neurological disorder known as “Ekbom syndrome.” Recorded, engineered, produced, mixed and mastered by Kristian Kohlmannslehner at Kohlekeller Studios, and displaying a Stygian artwork by Róbert Borbás of Grindesign, Ekbom is a nightmarish album that drags listeners through the darkest recesses of the human psyche, a grotesque journey where the ferocious music mirrors the unsettling sensations of delusional parasitosis.

Benighted are definitely a band that knows how to craft wicked, phantasmagorical intros, like Prodrome, inviting us all to a world of gore and darkness in Scars, a pulverizing feast of Grindcore tailored for admirers of the genre where Julien and Kevin will hammer your heads ruthlessly with their respective devilish roars and blast beats, followed by Morgue, presenting a demented sound for a song with a cadaverous name, with Emmanuel slashing his stringed axe like there’s no tomorrow and, therefore, making the atmosphere even heavier and more disturbing. Le Vice des Entrailles, or “the vice of entrails” from French, is another hurricane of Brutal Death Metal and Grindcore by the quartet, with Julien’s vile gnarls cutting our skin deep supported by the always demolishing drums by Kevin. Then featuring guest vocals by Oliver Rae Aleron of Archspire, Nothing Left to Fear is highly recommended for some brutal slamming, with the unparalleled vocals by Oliver matching perfectly with the band’s bestial sounds; followed by the evil title-track Ekbom, bringing forward their trademark violence while still sounding very groovy, technical and detailed.

Metastasis, the second single released by Benighted, will pulverize your cranial skull, as Julien couldn’t have sounded more demonic than this accompanied by the caustic riffs by Emmanuel, and the quartet shows no mercy at all for our souls and keep delivering the most demented form of Grindcore in A Reason for Treason, with the beats and fills by Kevin sounding and feeling absolutely brutal. Guest vocalist Xavier Chevalier of Blockheads lends his roars in Fame of the Grotesque, perhaps the most infernal of all songs where the entire band is on fire, especially Kevin with his stone crushing drums; whereas Scapegoat is another two-minute explosion of sheer dementia and violence by the quartet where Julien once again roars manically while Emmanuel keeps firing his sulfurous riffs and solos. The second to last attack by those Grindcore beasts comes in the form of Flesh Against Flesh, once again inviting us all to slam into the pit like there’s no tomorrow; whereas lastly we’re treated to Mother Earth, Mother Whore, a charming name for a Brutal Death Metal and Grindcore assault, with Julien’s roars walking hand in hand with the chaotic sounds blasted by his bandmates.

Can you feel it crawling under your skin? If your answer is yes, you can grab a copy of Ekbom, available for a full streaming on YouTube and on Spotify, from the band’s own BandCamp page, or by clicking HERE or HERE. Also, don’t forget to check what the band’s is up to on Facebook and on Instagram, including their insane tour dates. Ekbom is undoubtedly a chilling sonic landscape that will linger in your consciousness long after the last brutal note thanks to a band that knows how to sound extreme yet melodic and captivating at the same time, penetrating deep inside our skin like parasites of brutality and gore in the best way possible, of course.

Best moments of the album: Scars, Le Vice des Entrailles, Metastasis and Fame of the Grotesque.

Worst moments of the album: None.

Released in 2024 Season of Mist

Track listing
1. Prodrome 1:18
2. Scars 3:14
3. Morgue 3:22
4. Le Vice des Entrailles 3:05
5. Nothing Left to Fear 2:43
6. Ekbom 3:42
7. Metastasis 3:32
8. A Reason for Treason 3:17
9. Fame of the Grotesque 2:19
10. Scapegoat 2:22
11. Flesh Against Flesh 3:17
12. Mother Earth, Mother Whore 4:28

Band members
Julien Turchan – vocals
Emmanuel Dalle – guitars
Pierre Arnoux – bass
Kevin Paradis – drums

Guest musicians
Oliver Rae Aleron – vocals on “Nothing Left to Fear”
Xavier Chevalier – vocals on “Fame of the Grotesque”

Album Review – Intolerance / Waking Nightmares of an Endless Void (2024)

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This insane Spanish Death Metal outfit attacks again with their sophomore offering, continuing their masterful march and finding themselves in the embrace of evil.

Hailing from Zaragoza, Spain, the Death Metal mongrels collectively known as Intolerance have been paying homage to timeless Death Metal (and the fetid stench that exuded from the malicious tones of the bands that populated the scene and helped define the genre back in the late ’80s and the early ’90s) since their inception back in 2015, culminating now in 2024 with the release of their sophomore opus, titled Waking Nightmares of an Endless Void. Recorded, mixed and mastered at Moontower Studios, and displaying a sick artwork by Juan Alberto Hernandez, the follow-up to their 2022 debut Dark Paths of Humanity is a beast of an album where vocalist and guitarist P., guitarist W., bassist J. and drummer D. continue their masterful march and find themselves in the embrace of evil.

Like a creature arising form the underworld, the ominous intro Towards Perdition will darken the skies before all hell breaks loose in the pulverizing Fade Into Oblivion, an old school Death Metal extravaganza led by the vicious growls by P. and the decimating drums by D. highly recommended for some sick headbanging and of course some action inside the circle pit; followed by The Dark Forest, a violent, brutal and demonic display of the band’s Death Metal, with their guitars exhaling heaviness while P. continues to roar in a lecture in extreme music. And Rite of Passage is a straightforward creation by the quartet with the riffs by P. and W. sounding truly evil and caustic throughout the entire song for our vulgar delectation.

After that we face Hand of Glory, offering our avid and putrid ears six minutes of top-of-the-line extreme music made in Spain, with once again the vocals by P. sounding inhumane and gory, not to mention how intricate the drums by D. are, giving the song extra layers of insanity; and D. keeps hammering his drums in Devourer of Worlds, with his bandmates slashing their stringed axes nonstop, in special J. with his heavy-as-hell bass lines,or another song highly recommended for breaking your neck headbanging. The sulfurous Spontaneous Self-Awareness of the Void will inspire you to slam into the circle pit like a demented creature to the visceral riffs by P. and W. and the always pounding drums by D., resulting in one of the most destructive of all songs; and last but not least, a wild roar by P. kicks off the closing aria Melting Skies, presenting all elements form the band’s core sonority, plus a few haunting moments inserted halfway through the song; however, it’s not as exciting as the rest of the album.

Spanish extreme music has always been an absolute blast for us metalheads, and of course Intolerance keeps fueling our Death Metal inner flame in great fashion with their newborn opus. Hence, don’t forget to follow the band on Facebook and on Instagram, to stream their sick music on Spotify, and above all that, to purchase Waking Nightmares of an Endless Void from Memento Mori or from Godz ov War Productions, joining such an amazing and hardworking band on their quest for old school Death Metal towards an endless void.

Best moments of the album: The Dark Forest, Hand of Glory and Spontaneous Self-Awareness of the Void.

Worst moments of the album: Melting Skies.

Released in 2024 Memento Mori/Godz ov War Productions

Track listing
1. Towards Perdition 1:06
2. Fade Into Oblivion 4:17
3. The Dark Forest 4:37
4. Rite of Passage 3:58
5. Hand of Glory 6:09
6. Devourer of Worlds 4:15
7. Spontaneous Self-Awareness of the Void 5:58
8. Melting Skies 6:46

Band members
P. – vocals, guitars
W. – guitars
J. – bass
D. – drums

Album Review – Atavistia / Inane Ducam EP (2024)

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One of the most interesting names of the Vancouver, Canada scene is back with an amazing new EP, an album of the band’s most extreme influences and their darkest release yet.

Exploring various forms of metal within their music, resulting in a symphonic mix of nature, atmosphere, and technically precise musicianship, Vancouver, British Columbia, Canada-based Melodic/Symphonic Death Metal act Atavistia is ready to unleash a brand new EP titled Inane Ducam, which translates as “I will lead into nothingness”, and sometimes you’ll even find the album labeled as Inane Ducam (I Will Lead Into Nothingness), an album of the band’s most extreme influences and their darkest release yet. Produced and engineered by Mattias Sippola and Max Sepulveda, recorded at Atavistic Studios, mixed by Mattias Sippola, and mastered at Fascination Street Studios, the album includes some of the most complex guitar riffs, fastest drums, and bellowing screams by vocalist and guitarist Mattias Sippola, newcomers Elia Baghbaniyan on the guitars and Spencer Budworth on bass, and drummer Max Sepulveda, perfectly depicting the diversity of Atavistia much like a forest in the full bloom of spring.

The title-track Inane Ducam is an atmospheric, cryptic intro that kicks things off by setting the stage for the band to darken the skies in Timeless Despair, an explosive Melodic Death Metal aria bursting with epicness thanks to all symphonic elements in the background, while Max hammers his drums in the name of extreme music, perfectly supporting Mattias’ devilish vocals. Then we have Dark Isolation, sounding even more imposing and bold, a multi-layered composition showcasing the caustic riffs by Mattias and Elia while Spencer keeps the ambience as heavy and it can be with his bass lines. Unattained Creation is another wicked creation by the band where the austere, harsh roars by Mattias match perfectly with the rumbling bass and drums by Spencer and Max, respectively, flowing into the closing song of the EP, titled The Void, which is also the most detailed grim and infernal of all tracks, with Mattias leading his horde with his hellish growls while Max keeps blasting his drums like a demented beast, resulting in over seven minutes of first-class metal music that put a beyond climatic ending to the album.

If you want to know more about Atavistia, their music, tour dates and so on, you can start following and supporting one of the most interesting names of the current Canadian metal scene on Facebook and on Instagram, stream their creations on YouTube and on Spotify, and of course purchase a copy of the excellent Inane Ducam from their own BandCamp page or by clicking HERE. Atavistia keep exploring new lands in Inane Ducam while always remaining loyal to their origins, and that translates into some amazing heavy music that I’m sure you’ll enjoy a lot as soon as you take your very first listen to their new release, undoubtedly one of the best EP’s of 2024 so far.

Best moments of the album: Dark Isolation and The Void.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. Inane Ducam 1:41
2. Timeless Despair 3:55
3. Dark Isolation 5:23
4. Unattained Creation 5:17
5. The Void 7:06

Band members
Mattias Sippola – vocals, guitars
Elia Baghbaniyan – guitars
Spencer Budworth – bass, backing vocals
Max Sepulveda – drums

Album Review – Disloyal / Divine Miasmata (2024)

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One of Poland’s most ruthless Death Metal bands returns to action armed with their most complex, atmospheric and obscure record to date.

Recorded at Monroe Sound Studio and engineered, mixed and mastered by Arkadiusz “Aro” Jablonski, with the main cover artwork by NaphulaArt adding a visually stunning dimension to the release, the heavy-as-hell Divine Miasmata is the fifth studio effort by Polish Death Metal veterans Disloyal, marking the band’s natural progression in their already infernal path. Divine Miasmata is a proposal that simply cannot be ignored, easily the band’s most complex, catchiest, most atmospheric, grooviest, and darkest record to date, combining hard-labor musical craftsmanship with top-notch artistic finesse, all masterfully brought into being by vocalist Konstantin Kolesnikov, guitarists Artyom Serdyuk and Yahor Liatkouski, bassist Kolya Kislyi, and drummer Jaroslaw Paprota, proving why the band has been standing strong since their inception in 1997.

Just hit play and the ominous intro Divine Miasmata will drag you to Disloyal’s devilish realm, decimating your putrid soul in Silent Revolution by offering us all five minutes of ruthless, deep and evil Death Metal spearheaded by the gruesome roars by Konstantin, with the dissonant guitars by Artyom and Yahor sounding truly haunting. Jaroslaw keeps crushing his drums in the name of old school Death Metal in The Black Pope, an infernal creation by the quintet where the deep gnarls by Konstantin get more demonic than ever; and it’s impressive how they sound so heavy and evil, but at the same time very melodic, which is also the case in 1347-1352, where the band’s guitar duo will slash your ears with their strident riffs and solos in over six minutes of first-class Polish Death Metal. Then it’s  time to bang our heads like there’s no tomorrow and break our necks like demented beasts is Stella Peccatorum, again presenting their characteristic riffage supported by the rumbling bass by Kolya.

Jaroslaw dictates the massive, heavy-as-hell rhythm behind his drums in Betrayed Faith, a hammering tune by Disloyal that should ignite some sick mosh pits whenever played live; whereas the band continues to breathe sulfur and hatred in Religion of Warfare, a pulverizing song showcasing all their passion for Death Metal, with Konstantin once again sounding inhumane on vocals by growling and gnarling nonstop. The band enhances their progressiveness in Ravens of Starvation, based on a poem by Diana Suhova, delivering an almost Technical and Progressive Death Metal extravaganza tailored for admirers of the genre, all boosted by the infernal deep roars by Konstantin; and closing the album we have the also pounding, visceral The Ascension of Abaddon, a direct, in your-face Death Metal onrush that will smash your skeleton mercilessly thanks to the vile riffage by the band’s guitar duo and the always crushing beats by Jaroslaw, ending in a somber, melancholic and climatic way.

If you want to put your hands on Divine Miasmata and show your utmost support to one of the most important bands of the current Polish extreme music scene, you can buy your favorite version of the album by clicking HERE or HERE, and also find more information about Disloyal on Facebook and on Instagram (including their ass-kicking live shows), and stream their amazing creations on Spotify, keeping the fires of Death Metal burning bright while you enjoy one of the most visceral and demented albums of the year hailing from Poland.

Best moments of the album: The Black Pope, Stella Peccatorum and The Ascension of Abaddon.

Worst moments of the album: Silent Revolution.

Released in 2024 Black Lion Records

Track listing
1. Divine Miasmata 2:20
2. Silent Revolution 5:10
3. The Black Pope 5:28
4. 1347-1352 6:34
5. Stella Peccatorum 6:20
6. Betrayed Faith 6:43
7. Religion of Warfare 5:43
8. Ravens of Starvation 5:15
9. The Ascension of Abaddon 6:37

Band members
Konstantin Kolesnikov – vocals
Artyom Serdyuk – guitars
Yahor Liatkouski – guitars
Kolya Kislyi – bass
Jaroslaw Paprota – drums

Album Review – Wound Collector / Begging For Chicxulub EP (2024)

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Professional saxophonist and composer Peter Verdonck and his henchmen are back with a striking new EP, offering us all four songs of first-class Progressive Death Metal made in Belgium.

The brainchild of Peter Verdonck, a renowned professional saxophonist and composer who has earned his stripes in performances across the globe with Thelema Trio, Manngold de Cobre, The Rhythm Junks, De Pandoering, Ambrassband and many more, although his heart truly beats for Death Metal, Melsele, East Flanders, Belgium-based Progressive Death Metal outfit Wound Collector is set to unleash upon us a brand new four-track EP titled Begging For Chicxulub, the follow-up to their 2020 sophomore album Depravity. Currently formed of Peter Verdonck on vocals, saxophone and arrangements alongside Poncho Gavall (Pestifer) and Guy Van Campenhout (Hangman’s Hymn, Splendidula) on the guitars, Stijn Deldaele (Beat Love Oracle, Vesper) on bass and Nico Veroeven (Serial Butcher, Carrion) on drums, Wound Collector play an amalgamation of styles perfect for fans of Nile, Imperial Triumphant, Sarpanitum, Immolation and so on, with their new short and sweet EP beautifully showing a good sample of what they’re capable of.

The band puts the pedal to the metal in the opener River Of Scalded Corpses, with Nico delivering violent but intricate beats while Poncho and Guy sound insane armed with their riffs and solos in a multi-layered Progressive Death Metal feats tailored for admirers of the style; and  they continue their feast of brutal yet detailed Death Metal in Progress Through Dishonor, with the saxophone by Peter adding an extra touch of insanity to their music, not to mention how deep and enraged Peter’s vocals sound and feel. Then the striking fusion of the delicacy of the saxophone with the bestial roars by Peter and the caustic riffage by Poncho and Guy set the tone in Dehumanized By The Auburn System, flowing smoothly until the very last second, while Chicxulub is a ruthless explosion of Progressive and Technical Death Metal by the band where Nico once again dictates the pace with his demented drumming, not to mention Peter’s saxophone adds even more electricity to it, resulting in the best song of the EP hands down.

The multi-talented Peter and his henchmen are waiting for you on Facebook and on Instagram with news, tour dates and so on, and of course don’t forget to stream more of their music on YouTube and on Spotify, and grab a copy of their excellent EP from their Big Cartel, BandCamp, or by clicking HERE. If you’ve never experienced Death Metal infused with the smooth and powerful sound of a saxophone, you’ll have an absolute blast listening to Wound Collector, with their new EP being exactly what you need to “relax inside a mosh pit”, if you know what I mean.

Best moments of the album: River Of Scalded Corpses and Chicxulub.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. River Of Scalded Corpses 3:30
2. Progress Through Dishonor 3:40
3. Dehumanized By The Auburn System 3:41
4. Chicxulub 3:20

Band members
Peter Verdonck – vocals, saxophone, arrangements
Poncho Gavall – lead guitars
Guy Van Campenhout – guitars
Stijn Deldaele – bass guitar
Nico Veroeven – drums

Album Review – Axel Rudi Pell / Risen Symbol (2024)

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Bochum, Germany’s own metal institution strikes again with their twenty second studio album, flying the Melodic Hard Rock flag without watering down their style.

Following up on their 2022 album Lost XXIII, and continuing their streak of one album every two years, Bochum, Germany’s own Heavy Metal/Hard Rock institution Axel Rudi Pell will attack our senses once again with their twenty second opus, entitled Risen Symbol, flying the Melodic Hard Rock flag without watering down their style with pseudo-modern stylistic variations or expendable studio gimmicks. Displaying a fiery artwork taking up where their 1996 album Black Moon Pyramid left off, the band formed of the unstoppable guitarist Axel Rudi Pell and his henchmen Johnny Gioeli on vocals, Volker Krawczak on bass, Ferdy Doernberg on keyboards, and Bobby Rondinelli on drums offers a well-balanced and thrilling mix of catchy rhythms and powerful riffs, resulting in one of their strongest albums of the past decade.

The Resurrection, one of those characteristic intros by Axel Rudi Pell, sounds atmospheric, magical and whimsical, revving up their engines for Forever Strong, where Axel already begins slashing his guitars in great fashion supported by the always pounding drums by Bobby in a lecture in old school Heavy Metal and Hard Rock without sounding outdated, almost feeling like a Power Metal attack. Then we’re treated to Guardian Angel, one of the two singles released before the official album saw the light of day, which couldn’t have sounded more Axel Rudi Pell than this, where Johnny as usual steals the spotlight with his soaring, striking vocal lines; followed by their incendiary cover for Led Zeppelin’s all-time classic Immigrant Song, and Axel and his crew made sure they delivered a stunning rendition of the original one, with Johnny being simply flawless on vocals. And Darkest Hour, the first single of the album, is an amazing Hard Rock tune with Volker, Ferdy and Bobby crafting a rumbling ambience for Axel to slash his stringed axe, delivering incendiary riffs and solos nonstop.

Then you better get ready for ten minutes of undisputed, beautiful Heavy Metal and Hard Rock in the form of Ankhaia, bringing to our ears another explosion of soaring vocals, striking riffs and classic beats, resulting in an imposing aria that presents everything we love in the music by Axel Rudi Pell and more; whereas Hell’s On Fire is another classic tune by the quintet where the keys by Ferdy walk hand in hand with the magical riffage by Axel. Of course there had to be a stylish ballad by the band, in this case titled Crying In Pain, where the crying guitar by Axel embellishes the airwaves while Johnny proves why he’s one of the best Hard Rock vocalists of the current scene, all embraced by Ferdy’s charming keys. Volker hammers his thunderous bass nonstop in Right On Track, offering more of the band’s trademark sounds, with Axel once again kicking some ass with his strident riffs and solos in a Rock N’ Roll party perfect for raising our glasses and horns together with the boys; and the melancholic guitar lines by Axel ignite the closing song Taken By Storm alongside Johnny’s passionate vocals, flowing in a classy way until the very end while bringing to our ears more of their stylish riffs, rumbling bass lines, ass-kicking vocals and crushing drums.

In summary, Mr. Axel Rudi Pell and the boys did it again, delivering another solid album of heavy music in a relatively short period of time, which is not only good for us fans as it gives us more music for our daily activities, but it also expands the options for their live concerts, and if you want to catch one of the most hardworking and focused bands of the current European scene live you can see what they’re up to on Facebook and on Instagram, stream their beyond vast catalogue on Spotify, and of course grab a copy of Risen Symbol by clicking HERE, including the more than special Risen Symbol box set, including two exclusive red and white splatter vinyl in gatefold, two neon orange vinyl in gatefold, a jewel case CD, a shirt, an exclusive flacon with perfume (created by Axel Rudi Pell), a guitar pick, an A1 poster, a sticker, and an A5 photo card. It won’t take long for Mr. Axel Rudi Pell to release a new album, as I like to say every time I review his music, and that’s a very good thing for the metal community because as long as he keeps delivering great albums like Risen Symbol, we can rest assured Heavy Metal and Hard Rock will never die.

Best moments of the album: Forever Strong, Ankhaia and Right On Track.

Worst moments of the album: None.

Released in 2024 SPV/Steamhammer

Track listing
1. The Resurrection (Intro) 1:42
2. Forever Strong 4:42
3. Guardian Angel 5:27
4. Immigrant Song (Led Zeppelin cover) 5:47
5. Darkest Hour 5:32
6. Ankhaia 10:09
7. Hell’s On Fire 4:46
8. Crying In Pain 6:49
9. Right On Track 4:45
10. Taken By Storm 7:35

Band members
Johnny Gioeli – vocals
Axel Rudi Pell – guitar
Volker Krawczak – bass
Ferdy Doernberg – keyboards
Bobby Rondinelli – drums